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For hundreds of years in Louisiana, lullabies were hummed, prayers were called, opera was performed, la-las were danced, and work and carnival songs were sung in Creole. A francophone language with connections to West Africa, Louisiana Creole is now one of the most endangered languages in the world. In this musical ethnography, you will find fifteen original and traditional Creole songs that cross time and musical genres such as blues, zydeco, and traditional jazz. African spirits, maroon villages, Congo Square, southwest Louisiana dance halls, and the Northside Skull and Bone Gang all make appearances. Beginning with an introduction to the history and grammar of the language, the accompanying essays include in-depth interviews with Creole speakers and their descendants, as well as photography, original artwork, archival documents, and altars. The book concludes with the Creole lyrics for each song, along with their English translations. Avek ye, vou ve 'koute, lir, chante, epi pale an Creole. (With them, you will listen, read, sing, and speak in Creole.) Includes audio CD of Creole compositions from Louisiana.
Who are the Creoles? The answer is not clear-cut. Of European, African, or Caribbean mixed descent, they are a people of color and Francophone dialect native to south Louisiana; and though their history dates from the late 1600s, they have been sorely neglected in the literature. Creole is a project that both defines and celebrates this ethnic identity. In fifteen essays, writers intimately involved with their subject explore the vibrant yet understudied culture of the Creole people across time—their language, literature, religion, art, food, music, folklore, professions, customs, and social barriers.
Learning to play by ear is a unique part of becoming a musician in New Orleans. This life history and photography project explores the traditional methods of teaching brass band music in the city that gave birth to jazz. Through in-depth interviews, the bands, social and pleasure clubs, schools, churches, and other neighborhood institutions that have supported the music, and the spirit embodied in it, come to life.
The Other Hybrid Archipelago presents the postcolonial literatures of the Francophone Indian Ocean islands to an Anglophone audience. The islands of Madagascar, Mauritius, Reunion, the Comoros, and the Seychelles form a region that has a particular cultural identity because of the varied mixture of populations that have settled there and the dominant influence of French colonialism. This survey concentrates on the period since the Second World War, when most of the islands achieved independence, except for Reunion and Mayotte, which maintain a regional status within the French Republic. The postcolonial approach suggests certain recurrent themes and preoccupations of the islands' cultures and an appropriate way to define their recent cultural production, while taking account of the burden of their colonial past. The rich cocktail of cultural and linguistic influences surveyed is situated in relation to the contemporary political and social context of the islands and their marginal status within the global economy.
Hundreds of years ago, Terrebonne Parish was known to Indigenous peoples as "Yakni Chitto," which means "Big Country." Located between the Mississippi and Atchafalaya, Monique's father's parents were born along Bayou Pointe-aux-Chenes into a small Houma community. Migrating to Lower St. Bernard Parish each winter to trap, they eventually bought land along Bayou Terre-aux- Boeufs. Monique spent a large part of her childhood with her grandmother, Armantine Marie Bil- liot Verdin, and in the 1990s began to document their family's deep connection to South Louisiana in black and white photographs. As she writes in the book, "I've been trying to make sense of the strange beauty left here—the magic that is entangled in the ugliest underbelly of a plantation economy surrendered to the petro-chemical industry." In conversation with writers, family members, and theatre-makers, Monique shares how multiracial collectives in South Louisiana have come together to honor and protect their homes and work towards a shared future.
If I Could Turn My Tongue Like That, by Thomas Klingler, is an in-depth study of the Creole language spoken in Pointe Coupee Parish, Louisiana, a community situated on the west bank of the Mississippi River above Baton Rouge that dates back to the early eighteenth century. The first comprehensive grammatical description of this particular variety of Louisiana Creole, Klingler's work is timely indeed, since most Creole speakers in the Pointe Coupee area are over sixty-five and the language is not being passed on to younger generations. It preserves and explains an important yet little understood part of America's cultural heritage that is rapidly disappearing. The heart of the book is a detailed morphosyntactic description based on some 150 hours of interviews with Pointe Coupee Creole speakers. Each grammatical feature is amply illustrated with contextual examples, and Klingler's descriptive framework will facilitate comparative research. The author also provides historical and sociolinguistic background information on the region, examining economic, demographic, and social conditions that contributed to the formation and spread of Creole in Louisiana. Pointe Coupee Creole is unusual, and in some cases unique, because of such factors as the parish's early exposure to English, its rapid development of a plantation economy, and its relative insulation from Cajun French. The volume concludes with transcriptions and English translations of Creole folk tales and of Klingler's conversations with Pointe Coupee's residents, a treasure trove of cultural and linguistic raw data. This kind of rarely printed material will be essential in preserving Creole in the future. Encylopedic in its approach and featuring a comprehensive bibliography, If I Could Turn My Tongue Like That is a rich resource for those interested in the development of Louisiana Creole and in Francophony.
Written by the members during the year after Katrina, Nine Times writes about their lives, their parades, the storm, and the rebuilding process. Through interviews, photographs, and writing, Nine Times brings readers into their world of second lines, brass bands, Magee's Lounge, and the ties that bind.